• Born in 1975 in Nová Paka, Czech Republic. He lives and works in Berlin, Germany and in Prague,Czech Republic. His paintings and expressive figurative gouaches show a human being in all its brutality. Sophisticated, its often at the limits of the absurd. He has completed several courses for his education, 1989-1993 Václav Hollar Secondary Art School, Prague (CZ) 1993-1997,Prague Academy of Applied Arts (VŠUP) 1997-2001 at the Faculty of Fine Arts in Brno (FaVU) under Prof. Jiří Načeradský (Czech Rep.) 1998-1999 Academy of Fine Arts Düsseldor 2000-2002 Academy of Fine Arts Düsseldor funder Prof. GerhardMerz 2002-2004 Academy of Fine Arts Düsseldor funder Prof. A.R.Penck 2004 Meisterschüler (Student of Master) by prof. A. R. Penck at the Academy of Fine Arts in Düsseldorf 2005 Akademiebrief at the Academy of Fine Arts in Düsseldorf, Germany.
  • In any event, as a result the approach was for the first layer of colour to be an undercoat. It’s good to do this in the primary colours – red, green, blue. Artistic finesse isn’t important when painting the undercoat. The first layer is left to dry out a little, but it shouldn’t dry completely, or even partially, otherwise the whole layer will peel off. You carry on painting on the undercoat you’ve prepared and the colours from the undercoat emerge on the surface. Further tones mingle together on an area of mostly pure colours: grey then arises from ultramarine, dark white pigment, Prussian blue and yellow. This is why a grey colour can appear bluish, or something like that. Lovis Corinth used lots of linseed for the last layer, or at the moment when he felt that the canvas was ready. This allows you to dilute the colour at low saturation and it enables a sliding brush effect, a splitting of the artistic style.
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